Wushu Festival

Wushu Festival

A Diligent Maser Who Was Superior to Riches & Honor

Wushu Festival
A Diligent Maser Who Was Superior to Riches & Honor
    On 23rd February, 1996, Master Hong Junsheng, known as "giant of Tai Ji Quan", passed away and left his pursuit of Tai Ji Quan in his lifetime.
    There are ten years till now. His name always reminds us of Tai Ji Quan, which has been highly praised and deeply loved by people and been spread over all the world. The contribution that he made for Tai Ji Quan undertaking and his name Hong Junsheng has been recorded in Chinese Tai Ji Quan history.
    Master Hong had been one of the disciples of Tai Ji Master Chen Fa-ke since 1930. He had devoted himself to the theory and practice of Chen style Tai Ji Quan for more than sixty years. He learned the boxing skills from his Master and sought further progress by all kinds of martial arts. He didn't adhere to the fixed law, but rather he always concerned the facts and sought the truth. He is the second people who made a new contribution on explaining the theory and the law of Tai Ji Quan. In the light of the Chan Fa (twisting ?) theory of Master Chen Xin and practical boxing  skills taught by his Master, he further elaborated Chen style Tai Ji Quan by combining the law of the unity of opposites and mechanics principle with studying and teaching practices.
    He pointed out the hand's rotation and revolution for the first time, rotating and revolving accordingly and conversely, and the specific requirements of Chan technique of feet. What's more, he further explained what kind of angle should be acquired to coordinate the rotation and revolution of each movement. That had solved the problem left by the book Chen style Tai Ji Quan
    Chen style Tai Ji Quan is famous for its attacking skills in the world. Master Hong paid high attention to its attacking techniques and usage. He also made a comprehensive and deep study on its core- Chan Si Jin (a kind of force as silk twisted up and up). He made a creative exposition on the relationship between rotation and revolution of eyes', body's, steps' and arms' spiral movements. He emphasized that the direction and the angle of one's eyes, body, steps, and arms should be made in close coordination. By this, the skilled and magical craftsmanship can be embodied in the boxing.
    In his later years, Master Hong strictly followed the principle of Chen style Tai Ji Quan Chan skills on the movement. It was quite different from others, for it is agile and steady and has grand vigor.
    Master Hong had a thorough master of Chen style Tai Ji Quan and made a comprehensive study on all kinds of martial schools. Therefore, after testing the theory made by our predecessors, he could make contributions and have new explanations as well as correct some of the misunderstandings by his own teaching and study practices. Agreed by Master Chen Fa-ke, he combined his own experience with movements and skills of Master Chen, and made use of them in his original Tao Lu (a series of skills and tricks in playing Chinese Kung-fu) because he wanted to find a much better way for more learners to master the Chen style Tai Ji Quan. As a result, he passed on this set of boxing skills to disciples in Jinan. It got a good effect in practices and well-known all over the world. He also wrote Chen style Tai Ji Quan learners. This book is the precious treasure in china.
 Many other masters often visited Master Hong because of his super boxing skills. He was always modest to communicate the boxing skills by meeting friends.
 There is one of the examples. In spring of 1963, when Master began to recover his cold, Master Sang (the daughter of Master Sang Yunxiang), together with Xing Yi Quan Master Qiao Mingde, came to visit him. When Master Qiao heard that Master Hong had got a cold, he said "It is a pity that we cannot experience your Tai Ji Quan Kung-fu!" Master Hong said "it doesn't matter. I can do it as usual." He stood up slowly. At that' very moment, Master Qiao stretched his right fist and attacked Master Hong's chest at a very high speed by using Beng Quan (one of the boxing skills of Xing Yi Quan ). Everyone was surprised then. Master Hong quickly lifted Master Qiao's hand waist by his right hand and raised his middle finger slightly. Immediately, Master Qiao was lifted up in the air and thrown three meters far away! Master Qiao stood up and said "Excellent!"
    Master Hong was not only modest but also broadminded. He constantly strived for perfection on the theory and skills of Tai Ji Quan and held that we should discuss it on the basis of facts and science. He often gave his straightforward views on somebody's works or even some wrong points. He also pointed out that any academic study should base on the facts rather than the people and the aim of argument was to make clear what is right and wrong as well as to make progress.
   In1964, he submitted his writings for publication to sports column of China Sports. He had a fierce debate with Wu style Tai Ji Quan Master Xu Zhi on the question of "Chan Si Jin and Chou Si Jin in Tai Ji Quan", which had great influential in Tai Jin circle at that time. The book Chen style Tai Ji Quan written by Master Gu and Master Shen is the most standard and earliest book talking about Tai Ji Quan. However, Master Hong had different opinions on this book. Although he had friendly relationship with Master Gu, he dared question the validity of the book. He wrote Commons on the Eight Features of 'Chen style Tai Ji Quan and sought discussion with Master Gu.
  Master Hong was indifferent to fame and wealth in his lifetime and was neither supercilious nor arrogant-cordial but independent. He often said: "You She Zi Lai Xiang, Bu Yong Da Feng Yang", which means that if you have got such quality, people will know and it is useless to boast much more. The famous calligrapher Master Qi Gong praised his good quality, morals and writings. Master Chen Fa-ke commended him as "clever, honest and broad-minded, successfully carrying forward Chen style boxing skills".
  Master Hong had ever been the committee of Athletic Association in Shangdong Province, the chairman of Athletic Association in Jinan city, and the adviser of both Chen Style Tai Ji Quan Research Association and Shangdong University Wu Shu Club as well as Wu Shu association of Hua Lin school in America. However, he seldom took part in the public activities and never took the initiative in associating with officials. When some officials visited him, he always gave them a very simple treatment because he considered that association in men of noble character was simple. But when his old friends came to visit, he warmly received them because he thought it was a great pleasure to meet his friends.
 The most valuable quality of Master Hong is that he could gain pleasure in adverse circumstances and be steady in favorable ones. He had experienced the frustration of life as well as the ups and downs of social changes in his lifetime. Although he had passed away, he still had many sons and grandsons as well as many of his disciples. So there is no regret in his life.
 Master Hong was good at handwriting, poetry and tonality. He gained the true essence of Tai Ji Quan from aesthetic perspective. He wrote thirteen pieces of writings about "Quan Pin" of Tai Ji Quan by using the poem form and poem language to describe Tai Ji boxing skills and its aesthetics. He creatively commented on athletic idea in poem language that the level of Wu Shu skills should depend on one's quality. No ancients in the past have said or done this like him and his great contribution inspires people. Master Hong's spirit and his Tai Ji Quan don't fall into a certain people or nation or school category, but rather, they belong to the whole society and human beings.

Zhong Youquan talks about Liu Dian Ban Pole(Six-and-a-Half Pole)

Wushu Festival
Zhong Youquan talks about Liu Dian Ban Pole(Six-and-a-Half Pole)
    Liu Dian Ban Pole means six points actions plus a half as usual. There are plenty of explanations to the name focusing on the word "Half." Someone says the name of the pole method comes from its basic actions, six main movements plus an additional one considered to be the "Half." In my opinion, this definition is absurd. There are seven actions in total mentioned by the claimer obviously, why one of them should be called the "Half"? Another explanation holds that the additional "Half' refers to the end point of the pole only. But one pole has two head points itself. Why does the name emphasize one head point merely instead of two? So this idea is not convincing either. Someone else even praises the “Half” highly as the superiority of the Pole Kung-fu requiring all the players to perform it half of the action faster than their opponents. However, each pole method has its own superiority in order to survive. And speed is also an important pursuit for all the practitioners of martial arts. Why does Six-Points-and-a-Half Pole emphasize it particularly? This explanation is superficial too. In fact, the connotation of each action of the Pole should be taken into consideration.
    Generally speaking, Liu Dian Ban Pole's methods base on six main movements---Qiang (Thrust), Ge (Cut), Chou (Take out), Tan (Flip), Quan (Circle), and Dian (Point). Learners should practice the actions as much as possible. Moreover, players should learn to lead the force frontward, backward, leftward, rightward, upward and downward as conversant as possible in order to master all the movements well. The following passages will be the introduction and requirement of these main actions.
    Qiang (Thrust)---- Hold the pole that has only one attacking point with both hands. Stand at attention, push the people are step one foot forward. Each hit should be on the same point. The pole should be kept horizontal constantly, the player must send out his power with his waist strength and make sure that the point can initiate the most powerful attack with his will.
     Ge (Cut)----Raise the front point up to the height of one' s head, draw the foot back to the beginning stance of the movement, press the pole down in front of the thigh like cutting. The whole movement looks like fishing. Players should hold their breath, tight up their waist muscle and drop down their bodies a little. The purpose of practicing Qiang and Ge together is to help learners to master and control of power forward and backward.
     Quan and Dan (Circle and Point)
     Practicing Quan is aiming at realizing different inner circles of one's body. Besides the circles described by the pole, the player must build the inner circles of waist, chest and hands, which means coordinating each movement and treating each part of the body as a whole like a unified circle. The practice can also help the player to master the tenacious force controlled highly by the player's will moving powerfully and skillfully. According to the movement Tan, there is a good method for training. Putting a core of Chinese olive on the ground, the learner should touch and hit it with the pole point more and more. It's helpful for us to learn attacking with the point of that Chinese olive with our inner force actually as the strength under your will, since you could never smash the core without the right usage of strength. The distance between the pole and the core of the olive should be as close as possible.
     Chou and Tan (Take out and Flip)
     Hold the pole with both hands in the same direction, keep the same distance between hands as that of shoulders and jerk the pole points backward alternately maintaining the body straight and facing forward. Commence the force with chest muscle, reach the strength to the point of the pole, keep the paces moving as "ÄË" forward or backward. The movement looks like the method "Chou" (Take out) and "Tan"(flip). It helps us master the forces rightward or leftward and the approaching gait.
      The learner could find out and understand the secret of the "Half' by practicing the above movements if he can pay much attention to the start, the will and the usage of inner strength. According to my own opinion of the Six-Points-and-a-Half Pole, we can only comprehend it in the internal aspect rather than the appearance. The method can be considered as a kind of one's will training because the player has to move under the certain will to reach certain effect. After practicing hard for a long time, we will find that the will is as powerful as an additional movement, which is the real meaning of the so-called "Half."
                                      

 Yi Jin Jing II(Three Sets of Yi Jin Jing Exercise)

Wushu Festival

  Yi Jin Jing II(Three Sets of Yi Jin Jing Exercise)
  Three Sets of YI JIN JING(Sinew Metamorphosis Classie) Exercise  (Twenty-Two Movements in All)
     Among numerous forms of exercises, the following form is developed step by step into three steps and twenty-two movements. Mr. Zhen Guanying, a scholar in Qing Dynasty, recorded the exercise patterns and named them YI JING GRAPHICS with Bodhidharma as the founder in his book KEY NOTES OF CHINESE AND WESTERN SANITATION. In the Kingdom of Xuan Tong Emperor, the three sets were entitled THE TWENTY-TWO MOVEMENTS OF YI JIN JING EXERCISES in another edition with a preface written by Liang Shixian. The first set presented in the book contains twelve movements, focusing on figure training to strengthen health. The other two have five moves each, despite differing only in difficulty. Both of them place emphases on mind training, that is to learn to meditate while practicing, so that one's Nei Qi (Internal Energy Flowing) will function in certain parts inside his body as he required. Beginners are suggested to start with the first set and exercise step by step. Having no trouble Success in exercising will bring three advantages:
     1.The normal flowing of Nei Qi can fend off bad health and avoid serious diseases.
     2. Channeling Nei Qi to do away with discomfort when one is not feeling well.
     3. Directing Nei Qi to finger tips or some other parts and send it out as means to heal sickness for others.
     1) The first style in the first series
     Face eastward and raise your head slightly .look up slightly and stand flatly. Make sure that the distance between your feet is equal to the extent of your shoulders. Your feet cannot be irregular. Hold down your arms and bend your elbows slightly. Let your palms adown and ten fingertips forward. Ruminate numbers from one to forty-nine. Following your counting in mind so, you should try to raise your ten fingertips upward and press your palms downward for forty-nine times responding your ruminating. That is called Forty-Nine Qiao An.
The second style
     After you finish ruminating and counting those numbers as well as the responding actions, you can curl up your eight fingers to two fists with their back forward and make your thumbs free and upward. Be sure that your thumbs should unwind and cock departing from your fists and point to your body but keep a distance from it. Bend your elbows slightly, tighten your fists and warp your thumbs each time you ruminate each number from one to forty-nine so that you will have tightened your fist for forty-nine times when you finish ruminating. It is called forty-nine Qiao (tilting) accordingly.
   The fourth style
     After you finish ruminating those numbers following foregoing styles, spread out your arms forwardly and flatly and make sure there should be one distance of almost a foot between your fist and palm. Let your Hu Kou face upward and your fists are level with your shoulder. Bend your elbows slightly. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
  The third style
    After you finish ruminating those numbers following foregoing two styles, you can pile your thumbs on the knars of the middle fingers becoming two fists. Then you screw downward and extend your bended elbows and let the "Hu Kou"(the interspaces between your two thumbs and forefingers) face forward. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish ruminating. It is called forty-nine Jin (tightening).
   The fifth style
    After you finish ruminating those forty-nine numbers following foregoing styles, prick up your arms and let your two fists face each other. With the Hu Kou backward, raise your head slightly. And make sure that there will be a medium distance between your fists and your body. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The sixth style
    After you finish ruminating those forth-nine numbers following foregoing styles, turn your fists to your ears and there is one distance of almost an inch between your fist and ear. Let your elbows be level with your shoulder. Make your Hu Kou facing the shoulder and your fists face forward. Try to turn your tips of elbows backward and tighten the fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The seventh style
    After you finish ruminating those forty-nine numbers following foregoing styles, stretch your body backwards once your tiptoes are to lift off. Spread out your arms flatly to let them be level with your shoulder. With your Hu Kou forward, tighten the fists upwards or backwards and try to combine your breast each time you ruminate one number so that you will have tightened your fists for lorry-nine times when you finish your ruminating.
   The eighth style
    After you finish ruminating those numbers following foregoing styles, spread out your arms forwardly and flatly like the fourth style but the distance between the fists is closer. Tighten the fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating
   The ninth style
    After you finish ruminating those forty-nine numbers following foregoing styles, draw back your arms to the place just over your mammillae. Then turn over your fists with palms forward. Each tiptop of your fists should be level with the tip of nose. And the space between the fingertips of the forefingers and the tip of nose is about one or two inches. Raise your head slightly and tighten your fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The tenth style
    After you finish ruminating those numbers following foregoing styles, let your fists be away from each other and make your elbows be level with your shoulder with your forearms erect and fist forward. Make the Hu Kou of your fists be level with your ears. And try to raise the tips of elbows and energize backwards and tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The eleventh style
    After you finish ruminating those forty-nine numbers following foregoing styles, draw back your arms to your hilum. The distance between the fingertips of your forefingers and the hilum is about one or two Fen. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating. After you finish ruminating, exhale once and send the Qi to your Dan Tian following your slobber with your mind. Repeat this for three times.
   The twelfth style
    After the eleventh style, without ruminating the numbers any more, open and relax your fists and hold down your arms down straight naturally. Turn your palms forwards and let each tiptop of your palms be level with your shoulder. Lift your heels slightly to help the upper limbs. That is just like the principle of holding something heavy in your hands in a level named Ping Duan Chui Wu. Then pile up your hands to fists over your head and spill down at full tilt at the same time. Repeat these two actions for three times. Then pedal your right foot following your left one. Repeat pedaling for three times also. Then sit down eastwards to Yang Qi (to cultivate your inside energy) for a while. If you go on with the second series, just do it following your cultivating the Qi without spilling and pedaling your hands and feet any more. Or you may go on with the second series without doing the twelfth style. You can do the first style of the second series after you have exhaled for three times and sent the Dan Tian described in the eleventh style.

 

Ye Zheng talks about Liu Dian Ban Pole(Six-and-a-Half Pole)

Wushu Festival
Ye Zheng talks about Liu Dian Ban Pole(Six-and-a-Half Pole)
    The points of practicing Liu Dian Ban Pole passed on by Master Ye Wengong are as follows:
    The Pole Techniques: Qiang, Ding, Tiao, Tan, Hum, the Half Movement of Lan's Press-and-Dissolve (Lan Gun An Xiao Ban Shi)
    Essentials: Stableness is like the Mountain Tai. Speediness is like a heavy storm faith of overcoming difficulties as if you were drunk. Dreamy eyes.
    Starting Position: Stand sideways and straight. Face leftwards, hold the front part of the Pole with the fight hand, named Vanguard Hand. Hold the back part of the Pole with the left hand, named Backup Hand. The distance between the two hands should be the same as the length of one of your arms.
Classic Movements:
1. Stand sideways and straight. Hold the Pole with hands and raise it to the height as your neck . 2. Close to the opponent rapidly and press the Pole on his waist (Named An Xiao Ban Shi/the Half Movement of the Press-and-Dissolve). 3.Step the fight foot forward, bend the legs like tiding on a horse, push out the Pole with two hands' force, maintain the Pole parallel with the ground (Named Qiang)4. Drag the left foot forward as a "T" shape (" T "stance), lash acted by the fight hand, while push down with the left hand like fishing. 5.Push down with the fight hand and raise the Pole up with the left at the same time (Named Ding/Point). 6. Press the Pole down with the left hand and raise it up with the right (Named Tiao). 7.Press the Pole downward and leftward, approaching to the rival with the fight hand. Raise the Pole upward and rightward with the left hand, assisting the fight hand's movement (Named Tan). 8.Fix the end of the Pole as an axis with the left hand. Raise the Pole up with the right hand and press it down hard (Named Hum). 9.The movements from 3 to 8 mentioned above would be composed as the Approach (Yi Jin, including Qiang, Ding, Tiao, Tan and Hum). 10.Drag the left foot backward. Turn the movement into that as tiding on a horse. 11.Perform Ding, Tiao and Qiang coherently, which is named as Withdrawal. Repeat the Withdrawal three times. 12.Step out the left foot and turn it fight. Face your opponent. Perform the Tan. 13. Turn the body right. Form the stance "T" shape. Perform the Tan, Hum, Qiang, Ding and Tiao successively. 14. Drag the left foot backward and turn it left from the back. Face the opponent. 15. Push the Pole out with the fight hand. Draw it back with the left hand (Named Lan). 16. Perform the Tan, Hum, Qiang, Ding and Tiao leftwards. 17. Take the left foot back, perform the Tan. 18. Perform the Hum and withdraw the whole performance.
    (That is all for the Single Movement.)
 

Yang Style Tai Ji Falchion

Wushu Festival
Yang Style Tai Ji Falchion
    Tai Ji Falchion, famous for the name of "a ring on its head with long blade", is one of the Chinese traditional Kung-fu apparatus. This type of falchions had appeared and used in Xihan Dynasty and accordingly replaced the Long Sword being one of the main weapons in battlefield at that time. The Falchion is distinguishable from other weapons by a ring on its head. Its blade bending a little bit upward is sharp, narrow and long, the back of its blade is thick, the short part of its top is sharpened to razor sharpness with two edges like a real sword. In other words, Tai Ji Falchion might be the combination of some normal sword and broadsword. With the above-mentioned characteristics of Tai Ji Falchion, the holder could start his attack by chopping, hacking, ripping and thrusting powerfully. Moreover, there is a bow bending forward on the upper part of the handle, with which the holder could catch and hook the rival's weapon after leading the falchion out of the scabbard. The bow bending backward on the lower part of the handle can protect the holder's fingers as well.
     Tai Ji Falchion's style is quite different from the normal Kung-fu apparatus. Thus, we can hardly find even one in common Kung-fu apparatus stores. In cases for sports, players would like using the wooden or leaf-shaped falchions instead. However, the style of falchions should be in line with the corresponding performances and particular methods. The means of playing or using Tai Ji Falchion are actually designed in accordance with its special style. We couldn't find any huge chop, sharp block or sharp split in Tai Ji Falchionplay, because its fundamental theory derives from those of Taiji Quan  Dot (Zhan), Stick (Zhan), Link (Lian), Follow (Sui), Smooth (Zou), Dissolve (Hua). With the aim to attack first while start second in the fight, the players should move back and forth, up and down occasionally and dodge rightward and leftward nimbly. The movement must be quick and flexible. Both the stances of waist and legs and the steps must comply with the swordplay. Players should lead the performance by their will and operate the sword with internal force. And methods of Press (An), Mop (Mo), Shift (Tui), Hold (Tuo) should be performed by sustaining the falchion with palm and elbow. When the players turn the waist running the falchion, the movement should be free and flowing.
     Chinese Kung-Fu is outstanding in the consciousness of attack and defence, force, speed, difficulty, sense of rhythm and other comprehensive ideas. Under the traditional martial arts, Tai Ji Quan is a noticeable member of the Chinese Kung-Fu. Its performance is led by will, and its internal force is required to be slight and steady. Its foundation is martial arts, while its outcome is to make the internal spirit and the external body healthy.
  1. Wu Style Thirteen Tai Ji Falchion
  2. Wing Chun¡ˉs Liu Dian Ban Pole (Praise Spring¡ˉs six-and ¨Ca-Half Pole)
  3. Unique Shao Lin Kung-Fu Luo Han Quan
  4. The Secrets Behind ShenZhou Xing Yi Quan (Form Mind Boxing)
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